The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, now a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would define a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to promote the right artists because they lacked the right pedigree," he states.

This venture itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

What would the younger Edward make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."